《爱丽丝梦游仙境》有什么深意？
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寓教于爱，我们一起成长(o??????o?)虽然爱丽丝2的导演换人了，不知其人，但延续创始篇爱丽丝1的暗黑系导演蒂姆·伯顿风格，其电影画风可想而知。带着童话会被玩坏的预感去看这部Disney在六一儿童节档期的3D炫技片，开头果不其然，没有背景铺垫+突兀的人物设定即使看过爱丽丝童话原著也很难有带入感。印象还停留在那个钻兔子洞的小女孩，而银幕上却是一位与海浪搏斗的女版Caption Jack Sparrow霸屏，再加上阴森的布景和成人世界盘绕的关系相信家长也很难跟孩子讲这是怎么回事。撇开这些，仙境始于电影的副标题：镜中奇遇记--一面类似于任意门的镜子代替了童话中的兔子洞，然后开始了帮助Alice的好友Mad Hatter（扑克牌中大王小丑形象）拯救其家人的梦幻冒险，此时原著里的角色系数登场，包括white rabbit和大反派red queen，新增的“时间”大叔将兔子洞里时间静止这种现象人物化， 少不了又是一场穿越大戏。从Alice开着“超时空魔球”（哆啦A梦的时光穿梭机）在四维空间时间轴上冲浪与前绪的女船长角色铺垫对应上开始，似乎渐渐明白编者用意。时空穿梭的技能get后剧情从倒叙中铺展开来，看到最后才恍然大悟一个六一档电影的用意--全篇几乎没有小孩子（连Alice都是一个大龄女青年），只有穿越到过去后小时候的mad hatter和两位小公主（后来的white queen and red queen），这两个家庭中的小盆友分别跟父亲和母亲发生了点小误会也促成了整个电影的起因（回头想想还真是⊙０⊙！）mad hatter的高标准刀子嘴的帽子工匠父亲看不起小hatter制作的帽子，在他的成长中很少给他正面评价，导致hatter与家人决裂；白公主对母亲撒了谎，使红公主受到责骂，委屈至极，感觉自己十分缺爱，最后成长为了三观不正的red queen（扑克里的Q）。这特么是给孩子看的？不是，这是用来教育陪孩子的家长的，在小盆友的成长中，鼓励和公正、宽恕和包容是多么的重要，你对孩子成果和兴趣不经意的冷漠或不问青红皂白鲁莽下的结论可能就会深深伤了宝宝的心，而且宝宝委屈宝宝还不说，要是家长一而再再而三的忽视这些问题，孩子的三观可能就会被他的第一任老师亲手毁了。影片最后hatter发现了父亲原来是很爱他的只是不善表达（宝宝好开心），white queen给姐姐道歉，请求姐姐原谅给与爱的拥抱（宝宝要向她学习，知错就改），如果我有孩子我会寓教于爱的告诉他这些道理。 影片引用“时间”这个有点逗逼的神还有几处比较深层的话题，1、时间。人物化的时间有句重复的台词“你无法改变过去，但你可以从过去得到答案”翻译成白话就是“没有后悔药，但是我们可以从历史、经验和书本中找到通往爱的正确方向”。珍惜现在的时间，利用过去的时间。2、生死。这是中国家长一般不会给孩子提及的话题，有些沉重，却不得不面对，影片把生命的终结物化为一块表的停止，平淡祥和而无法超脱，包括Alice最后也没曾要让父亲复生，每个人生命都是一块表，“愿你不浪费每一分钟”。这样讲给宝宝们是不是更容易接受。在结尾处，回到地上世界的Alice从原本与妈妈意见不和到相互尊重对方的价值观，到达众乐乐的结局。这也给我们这些年轻人与父母关系处理上一些启发，是以爱之名相互束缚美其名曰“我这是为你好”，还是试着接受对方的价值观相互融合呢？如果你有宝宝会不会带他一起去看呢？什么？孩子太大了？现在二胎都开放了，宝宝还远吗？哎，不说了，楼主先去找个女朋友～祝大家六一巨婴节快乐～(?????????)
分不清现实和幻想时间不是金钱，时间不等人不可能变成可能关于爱情，友谊，亲情
一 第一次离别：你可以留下来的。 第二次离别：你也有你的家人。 感悟：爱她就为她着想，尊重她的选择。 二 You can not change past,but you can learn something.影片中爱丽丝为了救疯帽子穿越时空，但是改变不了历史，但是发现了很多事情。疯帽子父亲爱他的方式，白皇后的错误，爱丽丝父亲离去…… 感悟：正视现实，不要想着后悔，要勇敢去处理事情。 三 疯帽子：谁又分得清现实与梦境。 感悟：只要经历，就是真实。
今天看了这部电影。。。没有看原著。但是不知道为什么白皇后并没有想象中的那么。。端庄？双方对阵时，白皇后友好地向红皇后伸出手：我们可以不必战斗我的脑中瞬间就脑补出了
温柔善良漂亮的妹妹从小就讨人喜欢抢走了丑陋的姐姐的各种宠爱和地位导致姐姐越来越缺爱，一缺爱就变态。。。最后事态一边倒都反戈姐姐的宫斗剧。。。。。。这真的不是传说中的绿茶妹吗。。。感觉自己有心疼反派的被动技能。。
任何事情，只要你信，它就会成真。就算所有都觉得你是荒谬的，错误的，但是你自己心里一定要清楚你的选择。相信你的选择，相信你自己，你可以的，只要你信，就会-成真。
我觉得爱丽丝梦游仙境超级难过的，爱丽丝九岁去过一次之后再去是十九岁了，十年里她日子就像普通日子一样过，但是疯帽子他们一直在等爱丽丝回来。然后她把所有事情都忘记了，然后电影里疯帽子至少和她说了六次乌鸦像写字台，她都不懂是什么意思，还觉得疯帽子疯疯癫癫的说胡话，然后最后电影结束的时候疯帽子问他可不可以不要走，留下来，她说不可以，疯帽子就说，那你一定不要忘记我，她说我当然不会忘记你。可是爱丽丝九岁的离开的时候也有信誓旦旦的说过，我不会忘记你，十年后回来还是忘记了，然后我觉得疯帽子当时的眼神让人难过，他可能知道这次爱丽丝也不会回来也不会记得他吧，但是他听到爱丽丝这样说还是很高兴。最难过的事情是 疯帽子和他说乌鸦像写字台 她觉得疯帽子是神经病 可是这句话 明明是你当时一字一句说出来的 现在你全忘了 人家好好的放在心上记得十年 以为你回来以后长大了 什么都好了 结果你非但不记得 还觉得人家是 神经病 感觉等的这十年 又白费 又值得
只有我看到了成王败寇吗？
看第一遍的时候觉得就是个小姑娘重回梦境经历了一系列事情之后找回了克服困难做自己想做的事，说的就是那一份勇气；时隔多日我再看，竟然看不懂了？爱丽丝在仙境里把自己掐疼了却还是不愿意承认这不是梦；红皇后很残忍也很蠢；白皇后也不像是好人；智虫和其他动物植物说了一堆我听着毫无逻辑的话；疯帽子和爱丽丝似乎相互喜欢又不像是爱情；空龙说的老对手是斩首剑而不是爱丽丝，，，，，，oh no 这些事单看我觉得我还是能理解的，凑到一起之后我觉得我凌乱了。我要再看第三遍。
不知道会不会被大家黑……我看到的却是女权主义的觉醒……
出处：Book SummaryThe novel is composed of t it can be read in an afternoon. Each of the brief chapters, furthermore, is divided into small, individual, almost isolated episodes. And the story begins with Alice and her sister sitting on the bank of a river reading a book which has no pictures or dialogue in it. " . . . and what is the use of a book," thought Alice, "without pictures or conversations?" Thus, we find many pictures and read much dialogue (although very little of it makes sense) in this novel.After introducing us to one of the creatures in Wonderland, the Gryphon, for instance, the narrator tells us, "If you don't know what a Gryphon is, look at the picture." As noted earlier, Wonderland is filled with strange animals, and Alice's encounters with these creatures, all of whom engage her in conversations, confuse her even more whenever she meets yet another inhabitant of this strange country.Slowly losing interest in her sister's book, Alice catches sight of a white rabbit. However, he is he will be the "White Rabbit," a major character in the novel. In this first paragraph, then, we learn about the protagonist, Alice, her age, her temperament, and the setting and the mood of the story. In a dream, Alice has escaped from the dull and boring and prosaic world of adulthood — a world of dull prose and pic she has entered what seems to be a confusing, but perpetual springtime of physical, if often terrifying, immediacy.The White Rabbit wears a waistcoat, walks upright, speaks English, and is worrying over the time on his pocket watch. Alice follows him simply because she is very curious about him. And very soon she finds herself falling down a deep tunnel. For a few minutes, the experience of falling disorients her. Soon, however, she realizes that she instead, she is falling in a slow, almost floating descent. As she falls, she notices that the tunnel walls are lined with cupboards, bookshelves, maps, and paintings. She takes a jar of orange marmalade off a shelf. But finding the jar empty, she replaces it on a lower shelf, as though she were trying to maintain a sense of some propriety — especially in this situation of absolute uncertainty. As she reflects on the marmalade jar, she says that had she dropped the jar, she might have killed someone below. Alice is clearly a self-reflective young girl — and she's
her thinking reveals a curiously mature mind at times. But like an ordinary little girl, she feels homesick for her cat, Dinah. In that respect, she is in sharp contrast with conventional child heroines of the time. Although Alice may be curious and sometimes bewildered, she is never too nice or too naughty. But she is always aware of her class-status as a "lady." At one point, she even fears that some of Wonderland's creatures have confused her for a servant, as when the White Rabbit thinks that she is his housekeeper, Mary Ann, and orders Alice to fetch his gloves and fan.Thus, in Chapter I, Carroll prepares us for Alice's first major confrontation with absolute chaos. And note that Alice's literal-minded reaction to the impossible is always considered absurd here in W it is laughable, yet it is her only way of coping. As she falls through the rabbit-hole, for instance, she wonders what latitude or longitude she has arrived at. This is humorous and ridiculous because such measurements — if one stops to think about it — are meaningless words to a seven-year-old girl, and they are certainly meaningless measurements of anything underground.In Chapter II, Alice finds herself still in the long passageway, and the White Rabbit appears and goes off into a long, low hall full of locked doors. Behind one very small door, Alice remembers that there is "the loveliest garden you ever saw" (remember, she saw this in Chapter I), but now she has drunk a liquid that has made her too large to squeeze even her head through the doorway of the garden. She wishes that she could fold herself up like a telescope and enter. This wish becomes possible when she finds a shrinking potion and a key to the door. The potion reduces her to ten inches high, but she forgets to take the key with her (!) before shrinking, and now the table is too high for her to reach the key. To any young child, this is silly and something to be laughed at, but on another level, there' for children, the predictable proportions of things are important matters of survival. Yet here in Wonderland, things change — for no known reason — thus, logic has lost all its validity.Then Alice eats a cake that she finds, and her neck shoots up until it resembles a giraffe's. Suddenly, she is a distorted nine feet tall! Clearly, her ability to change size has been a mixed blessing. In despair, she asks, "Who in the world am I?" This is a key question.Meanwhile, the rapid, haphazard nature of Alice's physical and emotional changes has created a dangerous pool of tears that almost causes her to drown when she shrinks again. Why has she shrunk? She realizes that she has been holding the White Rabbit's lost white gloves and fan — therefore, it must be the magic of the fan that is causing her to shrink to almost nothingness. She saves herself by instantly dropping the fan. But
in vain, she searches her mind for something to make sense out of all this illogical chaos, something like arithmetic and geography, subjects that are solid, lasting, and rational. But even they seem to be confused because no matter how much she recites their rules, nothing helps. At the close of this chapter, she is swimming desperately in a pool of her own tears, alongside a mouse and other chattering creatures that have suddenly, somehow, appeared.Alice's Adventures in Wonderland is full of parody and satire. And in Chapter III, Victorian history is Carroll's target. The mouse offers to dry the other creatures and Alice by telling them a very dry history of England. Then, Carroll attacks politics: the Dodo organizes a Caucus-race, a special race in which every participant wins a prize. Alice then learns the mouse's sad tale as Carroll's editor narrates it on the page in the shape of a mouse's very narrow, S-shaped tail. The assembled, unearthly creatures cannot accept ordinary language, and so Alice experiences, again, this is linguistic and semantic disaster. Indeed, much of the humor of this chapter is based on Alice's reactions to the collapse of three above-ground assumptions: predictable growth, an absolute distinction between animals and humans, and an identity that remains constant. We might also add to the concept of a constancy of identity a conformity of word usage. But in Wonderland, Alice's previous identity and the very concept of a permanent identity has repeatedly been destroyed, just as the principles of above-ground are con here in Wonderland, such things as space, size, and even arithmetic are shown to have no consistent laws.In Chapter IV, the confusion of identity continues. The White Rabbit insists that Alice fetch him his gloves and his fan. Somehow, he thinks that Alice is his servant, and Alice, instead of objecting to his confusion, passively accepts her new role, just as she would obey an adult ordering her about above-ground. On this day when everything has gone wrong, she feels absolutely defeated.In the rabbit's house, Alice finds and drinks another growth potion. This time, however, she becomes so enormous that she fills up the room so entirely that she can't get out. These continuing changes in size illustrate her confused, rapid identity crisis and her continuous perplexity. After repulsing the rabbit's manservant, young Bill, a Lizard (who is trying to evict her), Alice notices that pebbles that are being thrown at her through a window are turning into cakes. Upon eating one of them, she shrinks until she is small enough to escape the rabbit's house and hide in a thick wood.In Chapter V, "Advice From a Caterpillar," Alice meets a rude C pompously and dogmatically, he states that she must keep her temper — which is even more confusing to her for she is a little irritable because she simply cannot make any sense in this world of Wonderland. Alice then becomes more polite, but the Caterpillar only sharpens his already very short, brusque replies. In Wonderland, there are obviously no conventional rules of etiquette. Thus, Alice's attempt at politeness and the observance of social niceties are still frustrated attempts of hers to react as well as she can to very unconventional behavior—at least, it's certainly unconventional according to the rules that she learned above-ground.Later, Alice suffers another bout of "giraffe's neck" from nibbling one side of the mushroom that the Caterpillar was sitting on. The effect of this spurt upward causes her to be mistaken for an egg-eating serpent by an angry, vicious pigeon.In Chapters VI and VII, Alice meets the foul-tempered Duchess, a baby that slowly changes into a pig, the famous, grinning Cheshire-Cat, the March Hare, the Mad Hatter, and the very, very sleepy Dormouse. The latter three are literally trapped (although they don't know it) in a time-warp — trapped in a perpetual time when tea is being forever served. Life is one long tea-party, and this episode is Carroll's assault on the notion of time. At the tea-party,
the Mad Hatter's watch tells the day of the year, but not the time since it is always six o'clock. At this point, it is important that you notice a key aspect of W here, all these creatures treat Alice (and her reactions) as though she is insane — and as though they are sane! In addition, when they are not condescending to her or severely criticizing her, the creatures continually contradict her. And Alice passively presumes the fault to be hers — in almost every case — because all of the creatures act as though their madness is normal and not at all unusual. It is the logical Alice who is the queer one. The chapter ends with Alice at last entering the garden by eating more of the mushroom that the Caterpillar was sitting on. Alice is now about a foot tall.Chapters VIII to X introduce Alice to the most grimly evil and most irrational people (and actions) in the novel. Alice meets the sovereigns of Wonderland, who display a perversely hilarious rudeness not matched by anyone except possibly by the old screaming Duchess. The garden is inhabited by playing cards (with arms and legs and heads),who are ruled over by the barbarous Queen of Hearts. The Queen's constant refrain and response to seemingly all situations is: "Off with their heads!" This beautiful garden, Alice discovers, is the Queen's private croquet ground, and the Queen matter-of-factly orders Alice to play croquet. Alice's confusion now turns to fear. Then she meets the ugly Duchess again, as well as the White Rabbit, the Cheshire-Cat, and a Gryphon introduces her to a Mock Turtle, who sings her a sad tale of his mock (empty) then the Mock Turtle teaches her and the Gryphon a dance called the 'Lobster-Quadrille." Chapters XI and XII concern the trial of the Knave of Hearts. Here, Alice plays a heroic role at the trial, and she emerges from Wonderland and awakens to reality. The last two chapters represent the overthrow of Wonderland and Alice's triumphant rebellion against the mayhem and madness that she experienced while she was lost, for awhile, in the strange world of Wonderland.This story is characterized, first of all, by Alice's unthinking, irrational, and heedless jumping down the rabbit-hole, an act which is at once superhuman and beyond human experience — but Alice does it. And once we accept this premise, we are ready for the rest of the absurdities of Wonderland and Alice's attempts to understand it and, finally, to escape from it. Confusion begins almost immediately because Alice tries to use her world of knowledge from the adult world above-ground in order to understand this new world. Wonderland, however, is a lawless world of deepest, bizarre dream unconsciousness, and Alice's journey through it is a metaphorical search for experience. What she discovers in her dream, though, is a more meaningful and terrifying world than most conscious acts of intelligence would ever lead her to. Hence, "Who in the world am I?" is Alice's constant, confused refrain, one which people "above-ground" ask themselves many, many times throughout their lifetimes.Throughout the story, Alice is confronted with the problem of shifting identity, as well as being confronted with the anarchy and by the cruelty of Wonderland. When Alice physically shrinks in size, she is never really small enough to hide from the disagreeable crea yet when she grows to adult or to even larger size, she is still not large enough to command authority. "There are things in Alice," writes critic William Empson, "that would give Freud the creeps." Often we find poor Alice (and she is often described as being either "poor" or "curious") in tears over something that the adult reader finds comic. And "poor Alice" is on the verge of tears most of the time. When she rarely prepares to laugh, she is usually checked by the morbid, humorless types of creatures whom she encounters in Wonderland. Not even the smiling Cheshire-Cat is kind to her. Such a hostile breakdown of the ordinary world is never funny to the child, however comic it might appear to adults. But then Wonderland would not be so amusing to us except in terms of its sheer, unabated madness.One of the central concerns of Alice is the subject of growing up — the anxieties and the mysteries of personal identity as one matures. When Alice finds her neck elongated, everything, in her words, becomes "queer"; again, she is uncertain who she is. As is the case with most children, Alice's identity depends upon her control of her body. Until now, Alice's life has
it becomes fragmented until it ends with a nightmarish awakening. Throughout the novel, Alice is filled with unconscious feelings of morbidity, physical disgrace, unfairness, and bizarre feelings about bodily functions. Everywhere there is the absurd, unexplainable notion of death and the absolute meaninglessness of death and life.Alice's final triumph occurs when she outgrows nonsense. In response to the Queen's cry at the Knave's trial: "sentence first — verdict afterward," Alice responds: "Stuff and nonsense! Who cares for you? You're nothing but a pack of cards!" At last, Alice takes control of her life and her growth toward maturity by shattering and scattering the absurdity of the playing cards and the silly little creatures who are less rational than she is. In waking from her nightmare, she realizes that reason can oppose nonsense, and that it can — and did — win. And now that the dream of chaos is over, she can say, from her distance above-ground, "It was a curious dream," but then she skips off thinking that — for a strange moment — what a wonderful dream it was.
毫无疑问，作为现代童话之父的卡罗尔在现实层面的成就亦是巨大的：与之前说教意味浓郁的《格林童话》、《安徒生童话》等不同，卡罗尔以其荒诞，奇幻的全新风格奠定了现代童话基调，风格形式也影响到后来的伟大作家王尔德；而其诙谐轻快的叙事风格不止有趣，更是对当时维多利亚时代迂腐固话的环境进行调笑：卡罗尔在世期间，刚好是维多利亚时期，正值英国经济最鼎盛时期，经济基础决定上层建筑，所以这时以批判现实主义小说为主的维多利亚文学时期大兴（狄更斯、萨克雷、勃朗蒂姐妹等著名小说家都处于该时期），而卡罗尔也正是其中的一员。维多利亚时期服装不仅继承了洛可可时期的繁复，并在此基础上多加蕾丝等元素，女性穿着趋向于保守，用层层叠叠的技法塑造华美感，这就是为什么在电影版《爱丽丝梦游仙境》中爱丽丝没有穿衬裙而遭到母亲的责骂（这一点在原著中没有涉及，加入并不显突兀还巧妙表达出原著所表达的内容）；而故事中出现的自视清高，打扮考究的兔子，严苛的红桃皇后也是在讽刺当时的社会现状。更难能可贵的是，与之前简单的非黑即白逻辑极强的童话小说不同，在卡罗尔笔下人物并没有绝对的善与恶，是与非，而是客观描绘出一个个动人多面的形象和有趣的故事情节，给读者更多有弹性的自主联想和思考空间，就连故事里的主角爱丽丝，也不尽是优点：善良富有同情心，但一样有着七岁小女孩应有的爱哭，倔强有小脾气等特征。这使得人物更加立体丰满；故事可读性更多，画面感更强。他嚷得那么厉害，使爱丽丝忍不住说：“嘘！你那么大声嚷，会把他吵醒的，”“哼！你说‘吵醒他’，简直毫无意义。”叮当兄说，“因为你只不过是他梦里的东西。你明知道你不是真的。”“我是真的！”爱丽丝说，并哭了起来。这一切都是那么叫人弄不懂，爱丽丝不由得又哭又笑地说：“要是我不是真真的，我就不会哭啦！”“难道你以为那是真的眼泪吗？”叮当兄用非常瞧不起人的声调说。“哭也不会叫你变真一点，”叮当弟说，“没什么好哭的。”（《爱丽丝镜中游记》摘选）这一段冷酷的对话，展现出卡罗尔的哲学之道，用在现代社会也一样适用。当遇到麻烦和委屈的时候，许多人会用哭来示弱，就好像这样可以显得事情和自己没有一点关系，自己才是受害者，但其实并不能让你真的洗脱，哭是没有必要的。（摘自自己公众号文章zhangwowo0207的一段文字）
这部电影里，人和动物相处的真和谐，很好玩。
我非常喜欢这部电影，我觉得它表达的深意是打破对未知的恐惧，勇敢面对挑战，不要让爱你的和你爱的人失望，勇敢脱掉思想的禁锢。
书的结尾，当爱丽丝喊出：“Who cares for you？You are nothing but a pack of cards！”的时候，梦就醒了。当我们不再相信梦里的故事，梦就会醒的。在相信着梦的时候爱丽丝是快乐的么。许是如人饮水冷暖自知。梦醒了，总是会怅然若失的。
故事剧情是这样的。时间不多可以只看粗体。---------------------------------------------------------------------------------------------距离那一次历险奇遇已经过去了十年。曾经漫游奇境的爱丽丝，已经19岁的她生活在一个华丽富庶的大庄园里，衣食无忧，生活奢靡，在社会风气的带动下，渐渐的成长为家庭心目中所冀望的那种贵族女子，却早已忘却自己在9岁时的那些奇妙无比的经历。时光荏苒，在家族为她举办的19岁的生日宴会上，一位富豪的儿子向他求婚，对方是哈米什·爱斯科特，哈米什虽然家财万贯，性格却愚笨而木讷，跟爱丽丝根本不是一路人。爱丽丝发觉到自己并不想要这样的生活，渴望改变现状的她在小白兔的带领下，爱丽丝再次步入仙境。这里依然是她童年来过的地方，一切都没有发生太大的变化，有着奇妙的黄色瞳孔的疯帽子先生率先欢迎了爱丽丝的到来，而专断凶狠的红桃皇后依然尖叫着要砍掉其他人的头，甚至连自己的妹妹白皇后也不放过。在双胞胎兄弟的帮助下，爱丽丝逐渐地恢复了记忆，她将在这个童话般的奇妙世界里重新审视自己。------------------------------------------------------------------------------------------------有人说过，判断是否老了的标准是，对于这个世界的好奇心丧失程度。《爱丽丝梦游仙境》就希望我们返老还童，对于这个世界充满好奇心，感知探索这美丽而神秘莫测的世界。并重新审视我们来到这个世界的意义。尽管是个井底之蛙也要挖出个隧道出来，看看外面的世界。
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